Hot Sauce Pony – Burnt Ends

With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.

Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.

From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.

Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.

Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.

Burnt Ends is released June 22nd via Brixton Hillbilly. The band also has first single Fenced In available as a free download  @ https://soundcloud.com/brixton-hillbilly/fenced-in-by-hot-sauce-pony

Upcoming Hot Sauce Pony live dates:

23rd June Club 85, HITCHIN

30th June Betsy Trotswood, LONDON

16th August – HY-Brazil, BRISTOL

https://www.facebook.com/hotsaucepony/

Pete RingMaster 20/05/2018

Copyright RingMaster: MyFreeCopyright

Morass of Molasses – These Paths We Tread

The first album from UK trio Morass of Molasses has definitely been one encounter we have here been keenly anticipating, almost from the day the band first stepped forward with a couple of senses infesting, psyche twisting tracks. Their fusion of doom, sludge, and stoner bred textures served in a swamp of aural filth just fed all the instincts and continued to through their debut EP a few months after. Now we have These Paths We Tread to devour, an album which we will admit had us a touch unsure initially.

Instantly enjoyable, These Paths We Tread still had thoughts crowding to contemplate its new proposal of sound. Morass Of Molasses has lured their music from the filth infested depths of the swamp into a cleaner yet still aurally clinging landscape. That is not to say that it does not still come with a healthy coating of scuzz and doom lined dirt but it is a lumbering trespass of sound which is almost more celebratory than predatory. Quite simply their sound has matured, grown up even, and hindsight through listening back at certainly that last EP, So Flows Our Fate, shows it was an evolution on the cards even back then. To be honest we miss the filth but it has not stopped These Paths We Tread through time and listens blossoming into one seriously striking encounter loaded with the potential of even greater adventures ahead with the threesome of vocalist/baritone guitarist Bones ‘The Beard’ Huse, lead guitarist Phil ‘The Mountain’ Williams, and drummer Chris ‘The Beast’ West.

These Paths We Tread gets off to a mighty start with My Leviathan, its gentle caresses of melody and atmospheric waves a deceptive coaxing into the waiting jaws of colossal riffs and flirtatiously tangy grooves. Settling into a predacious crawl entwining raw causticity with salacious seduction, the song roams ears and imagination like a primal siren. Bones’ raw throaty roars share pure toxicity at times, his hostile tones matched by the punchy rhythms of West but tempered by his own calmer vocal tempting and the sonic web cast by Williams. Continually twisting through an array of perpetual incitement on ears and appetite, the track is glorious, its emerging funkiness icing on the feral cake.

Recent times has seen MOM tear into stages alongside the likes of Orange Goblin, Ohhms, Vodun, Elephant Tree, Desert Storm, Space Witch, Sea Bastard, Gurt, and Limb among many others, and there are essences of a few of these within second track So They Walk. Its grooves seep Orange Goblin/Kyuss like taunting whilst its irritable side has a Sleep like causticity, all merged into a distinct MOM recipe and a track like its predecessor which hits the spot with relish.

Continuing themes of “mythic sin and ancient archetypes”, album and next up Serpentine lyrically and musically bind the listener in evocative textures. The third track winds around ears with a dexterity and sonic adeptness emulating its title, grooves almost slithering across the imagination as rhythms bite. Bones’ warm if emotionally deceitful vocals contrast the underlying volatility of the track superbly, also erupting at times to spark a sonic wave fuelling greater weight and intensity throughout. It is a bewitching affair, not as instantly gripping as the first pair of songs but blossoming with every listen into an instinctive temptation before the brief incantation of The Ritual lures and the haunting presence of Centralia descends. A weave of stoner bred enterprise lined with provocative shadows and ghostly whispers as infectious rhythms drive a rolling canter, the second of the two is a well of suggestion coloured by the skilful adventure of Williams on guitar strings.

Next up Maenads is a psychosis of drama and sound, simultaneously enthralling and threatening with seduction and primal toning. It is fair to say, as the album, the track grows and infests deeper into the psyche with every taking of its inflamed intoxication; its melodic anaesthetic fascinating and feral instincts tantalising before things end with Wrath Of Aphrodite, a song which maybe did not quite spark the passions as richly as its companions yet has body and appetite for more bouncing to its groove woven, heavily boned rock ‘n’ roll.

Certainly for fans of the band, These Paths We Tread  will maybe need time to grow and develop on ears and thoughts though newcomers will find Morass of Molasses a quick persuasion we are sure. Yes we still miss the filth but the album blossoms into something thickly compelling and increasingly pleasurable; how stupid of us to doubt with those first thoughts.

These Paths We Tread is out now through HeviSike Records in various formats @ https://morassofmolasses.bandcamp.com and http://www.hevisike.com/product/morass-of-molasseslp

https://www.facebook.com/MorassOfMolasses

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Victorian Whore Dogs – Afternoonified

VWD_RingMasterReview

From the voracious trespass of Afternoonified there is no hiding place for the body and emotions, no safe haven within a sludge/doom metal bred consumption of the senses from a band ready to devour far broader attention than already incited by previous releases. Afternoonified is the eagerly awaited debut album from UK quartet Victorian Whore Dogs and the next punishingly irritable and rousing exposure to the band’s self-named “Sexy Hobo Trampcore.”

The Guildford hailing and 2010 formed Victorian Whore Dogs have already whipped up potent attention and keenly offered praise through their first pair of EPs, starting with the three track rabid assault of Fetch in 2013. Fair to say, Hobo Chic two years later stirred up even greater awareness and support for the band whilst pushing their stripped back and hungrily abrasive sludge metal cored sound on again which Afternoonified now continues. The album’s eleven corrosive roars are as unashamedly raw and boldly cantankerous as ever but equally show a new creative imagination and greater resourceful design to their ravenous and invasive ferocity. It is a wake-up call to those still blind to their sonic antagonism and gripping humour lined devilry, and sure to enhance a formidable reputation already earned by the band’s live presence which has already seen them crush venues alongside the likes of Conan, Ortega, We are Knuckle Dragger, Lord Misery, and Burden of the Noose as well as the New Blood Stage at Bloodstock in 2015.

Afternoonified opens with Mutton Shunter where an initial sonic lancing quickly invites inescapably anthemic beats and caustic stabs of guitar. Their union becomes more abrasive and compelling as psyche infesting grooves from Adam Crawley seduce as they wander through ears. The-hardcore/noise seeded side of the band’s animosity soon emerges too as vocalist Danny Page uncages his throated shredding roars matched in forceful kind by the vocal squalls of bassist Andy Nuttall. The track is superb, quickly in control of attention and an eager appetite whilst being purposefully guided by the rhythms of drummer Stephen More.

Front_Cover_RingMasterReviewIts creative animus is followed and matched by that cast by Captain Kirk Was My Favourite Stormtrooper. Straight away a web of spicy grooves and rapacious riffs unite beneath a mercurial atmosphere ablaze with the jaundiced vocal ire of Page. Like a psychotic mix of Neurosis and William English, band and track create a thick and swinging incursion of the senses finally making way for the even more antipathy toned challenge of I Have Become. The next track immediately shows an even darker and heavier gait which only becomes more intense and atmospherically tar thick as it insistently lumbers through ears on the way to spreading its cancerous hues to Murder Boner which breeds a whole new inhospitable sonic malignancy from them. Again the merciless aspects are offset by infectiously demanding rhythms and fearsome yet engagingly waspish grooves and piercing hooks; a combination resulting in a highly alluring landscape around more vocal enmity.

Both tracks commandingly stir up again the hungry focus and emotional involvement already in motion though the pair soon finds themselves eclipsed by the calmer invasive flirtation of Barrington Monroe. It’s droning elegance and fiery ambience smothers the senses whilst simultaneously invigorating them with a dark almost nagging touch and charm crawled over by the fiercely rasping vocal delivery of Page. The track beguiles as it scars, a quality found again in the far more predacious and equally enthralling (I Can’t Believe It’s) Nutbutter which stalks ears from its start before breaking into a repetitive and addictive groove veined grind/sludge metal woven grudge.

An infectious persistence of grooves and predatory rhythms shape the similarly captivating Agœcia next, the track another which seems to instinctively incite the primal wants of any slab of galvanic aural barbarism. It is admittedly, a quality gracing the whole of Afternoonified which will keenly entice those with an emotionally and sonically dissonant tooth, and repeats its success in the likes of the melodically and emotively rancorous Snatch Files and in turn the rhythmically enslaving Nååñshååg. The first of the two expels a coarsely bracing blaze whilst its successor creates a tapestry of rhythmic incitement before soaking its frame in doom fuelled sonic and vocal venom. It is another which infests the psyche and passions with little resistance whilst showing a strain of diversity which maybe not all songs as openly show but for the main hold.

The album comes to a close through the virulent feud of Southern Fried Homicide and the crawling aural malice of Sebastian Tenderhoof, another duo pushing the blend of textures and flavours to greater variety within their individual conflicts of sound and intent. Together they make for a heavily pleasing end to a thoroughly gripping and enjoyable invasion of body and spirit.

Though Afternoonified will impress those with an appetite for sludge, doom, and debilitating metal swiftly it is over numerous plays that it truly comes into its own and reveals its depth of invention and character. Victorian Whore Dogs is a band on the prowl with its finest vindictive growl about to be let off the leash.

Afternoonified is released April 1st via Hibernacula Records @ http://victorianwhoredogs.bandcamp.com/ and http://www.hibernacularecords.com/product/afternoonified-by-victorian-whore-dogs

https://www.facebook.com/VWDBAND

Dates for the Victorian Whore Dogs UK Tour:

01/04 – Reading, Facebar*

02/04 – Southampton, Firehouse *

03/04 – Portsmouth, Edge of the Wedge

07/04 – Worcester, The Pig & Drum *

08/04 – Leicester, The Firebug *

09/04 – Leeds, Bad Apples*

10/04 – Nottingham, The Running Horse *

14/04 – Bristol, Stag & Hounds +

15/04 – Cardiff, Fuel +

16/04 – London, The Black Heart +

17/04 – Brighton, The Prince Albert *

22/04 – Worthing, Bar 42

*With Morass of Molasses

+With Greenhorn and Tides of Sulfer

tour_RingMasterReview

Pete Ringmaster 31/03/201

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

MORASS OF MOLASSES SET OUT ON THE ‘VULTURES PRAY’ TOUR WITH VICTORIAN WHORE DOGS

MoM_RingMasterReview

‘Their music goes back to the old Clutch, mixed with huge amounts of Sludgy, bluesy riffs. Singer and guitarist Bones had the best stage banter as well’ – Echoes & Dust

‘They win the award for best band name, and as they start into a set as heavy as hell, they raise the bar for the night. Tonight is all about tone’ – Get Into This

Morass Of Molasses have just returned from an intense weekender with Ohhms and Slabdragger, brief moment in time which saw them visit Edinburgh, Liverpool and Coventry in order to spread their unique brand of Sludgy Swamp Blues. In the process they garnered still more critical acclaim and fans alike.

Now, with the dust barely settled, they set out on the road once more. This time it is for their largest UK tour to date, with their Sludge Brothers Victorian Whore Dogs on board for the ride.

As if this wasn’t enough, the tour also coincides with the band acquiring distribution deals with HeviSike Records, Hibernacular Records, and From Beyond Records for the release of their unique sounds.

This is represents the band ‘working with the right people‘ according to frontman Bones. Who adds ‘It is good to see all our hard work being recognised by influential people we respect

The ‘Vultures Pray’ Tour…
25.03.16 – The Dragonffli (Pontypool)
26.03.16 – Bunker 13 (Stoke)
01.04.16 – The Swamp (Reading)
02.04.16 – Firehouse (Southampton)
03.04.16 – Edge Of The Wedge (Portsmouth)
07.04.16 – Pig & Drum (Worcester)
08.04.16 – Firebug (Leicester)
09.04.16 – Bad Apples (Leeds)
10.04.16 – Running Horse (Nottingham)
16.04.16 – The Black Heart (London)
17.04.16 – The Prince Albert (Brighton)

MoM tour_RingMasterReview
Find more details about Morass Of Molasses here @ Facebook: https://www.facebook.com/MorassOfMolasses

Eujenics – Humanism EP

Eujenics_RingMaster Review

Two singles last year alerted ears to the creative prowess and imagination feeding adventure of UK alternative rockers Eujenics, songs which laid the seeds to eager attention upon the newly formed Sunderland band. Now together with a pair of new offerings they form debut EP Humanism, a powerful confirmation of the potential in those early tracks further charged with a greater fire of sound and impassioned intensity.

Formed in 2015, Eujenics quickly made an impact last September with debut single Meniscus, a mark quickly reinforced by its successor Kalashnikov two months later and a potent live presence which has seen them already share stages with the likes of Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire. From Humanism alone it is easy to sense and suspect that 2016 is going to be a big year for the striking band, a time of big steps and rewards and an increase in expectations upon them such the impressive broad introduction to the band for a great many more by their EP.

art_RingMaster ReviewLooking at those two aforementioned singles alone within Humanism, it provides a powerful and rousing proposal to get the teeth into. Meniscus immediately entwines ears in a strand of sonic temptation with guitarist Chris Hanna’s bait a spicy coaxing on its own but becoming even more powerful once aligned to the gnarly tone of David Scott’s bass and the rapier like swipes of drummer Adam Hay. The early grooves only seem to escalate in enticement and alluring drama as the climate of the song becomes sonically muggier, vocalist Nic Wood lighting it with his angst soaked tones and expression. There is an air of bands like Manic Street Preachers and Mind Museum to the increasingly eventful and dynamic roar of the song and release, and a contagion to its heart and character which is inescapable. The track is superb and very easy to see why it made such a potent impact last year.

Kalashnikov is an even darker and more rapaciously intensive offering which starts with the predacious growl of the bass as it steps into view. Beats soon begin to stalk the senses too as a sonic mist brews and subsequently erupts in a blaze of acidic tendrils and melodic magnetism. As emotion oozes from the delivery of Woods, things relax a touch but boil again as a tempestuous climate and presence emerges. For all its volatile nature though, catchiness flirts from its gait and the grouchy but inviting hooks which line the outstanding explosive roar of sound and emotion.

Both tracks hint at stoner-esque hues which certainly come to the surface of Culled. It is a fiery canter revelling in a heavy rock ‘n’ roll breeding though in no time it provides its own individual emotion drenched drama through masterfully blending evocative melodies and aggressive angst into its striking sound and body. The further into its creative bellow the more virulently infectious and resourcefully unpredictable it becomes, ending on a finale which leaps at the listener to get the body physically involved.

The last song to explore on the EP is Eviscerate, a track seemingly nurtured from the same seeds as Kalashnikov such its dark intensive bass led start but quickly revealing its own swampy smog of sonic enticement with a touch of fellow Brits, Morass Of Molasses to it. As compelling as anything upon Humanism, it is also the most intimidating in weight and intensity without defusing the strength of the sonic tempting and melodic tenacity which as much as anything sears songs in to the psyche.

If you have already been greedy with Eujenic’s first pair of songs then the EP will only elevate the excitement and enjoyment so far felt whilst for newcomers, Humanism is a major alert to one of the most exciting bands to emerge in British rock ‘n’ roll this past year or so.

The Humanism EP is released February 13th at a launch show at the Independent in Sunderland. Also playing will be Waste Of Space, Grayce., and PussyWillowFurryVenus. Tickets are £4 and available from the bands or at http://eujenics.bigcartel.com/

https://www.facebook.com/Eujenics/   http://www.eujenics.com   https://twitter.com/Eujenics

Pete RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Chainflower – The Broken & Lovely

chainflower_RingMaster Review

Earlier this year, we found ourselves treated to one ferocious blaze of compelling psyche twisting rock ‘n’ roll from US duo Chainflower, and now we have another from the same protagonist to sets ears and passions ablaze. The band’s new scorching persuasion is The Broken & Lovely EP, a thrilling successor to their outstanding and acclaimed self-titled debut EP. It is a two track offering just as impacting and gripping in its blend of varied rock flavours but has something extra to out shine its impressive predecessor. It is an indefinable essence that makes The Broken & Lovely EP eclipse a release whose songs we suspect might have been possibly written and also recorded at the same time as the new EP, but something to help Chainflower’s latest offering reach up to another plateau in songwriting and sound, not forgetting temptation.

S02_5x5.125_Sleeve.eps_RingMaster Review     Chainflower is the creation of guitarist and songwriter Kelly Wheeler, a veteran of the L.A. music scene who as well as having played with members of Jane’s Addiction and Tool in his career, uncaged his highly praised and supported bands SexTapes and Ultraject, the first which is now on hiatus, featuring long time Guns N’ Roses member Chris Pitman on lead vocals. Uniting with vocalist Erika Renee, who had ‘applied’ for the newly vacant vocalist spot in Ultraject at the time, the pair emerged as Chainflower and quickly got to work on the local live scene whilst joining producer and engineer Doug Grean (Stone Temple Pilots, Velvet Revolver, Scott Weiland, Sheryl Crow, Cyndi Lauper) to record that first EP.

A few months on and also recorded with Grean, The Broken & Lovely opens up with Lewd Blues which is instantly bewitching ears with its bluesy, almost intoxicated haze of guitar. Things only get spicier and more gripping as the distinctive tones of Renee unveil their lures and the song’s narrative, punchy beats, and a great grizzled bass tempting provided by Eliot Lorango add to the increasingly magnetic and sizzling seduction on offer. The grooves of Wheeler relentlessly wind around the senses and imagination, perpetually teasing the passions even when switching from a delta blues lined coaxing to seventies psych rock imagination, Renee all the time riding his weaves and sways like a surfer with her delivery.

Second song on the EP is Hell’s Roll; a more predatory stroll again coursing a fuzzy maze of guitar prowess covered by darker shadows conducted by the hefty but controlled swings of guest drummer Brandon Pertzborn. Never elevating from its riveting prowl, the track spins dark rock ‘n’ roll and dirty blues textures into its mystique kissed adventure of sound and vision, firmly holding ears and attention as enthralled as the imagination.

Like an endearingly twisted mix of My Baby, Karn8, and at times Morass of Molasses, both tracks just excite and inspire whilst reinforcing Chainflower as one rather thrilling proposition.

The Broken & Lovely EP is out now @ http://chainflower.bandcamp.com/album/the-broken-lovely

https://www.facebook.com/Chainflowermusic

Pete RingMaster 22/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Gold Jacks – Take It Back

gold jacks_RingMaster Review

Though we are a bit late to the party, we have a single we feel all rock fans should go check out. The song is Take It Back and comes from UK alternative rockers Gold Jacks. They are a Manchester quartet quietly but potently brewing up a strong reputation around their home city and further afield through their live presence and the release of two spicy singles. Take it Back is the second of those temptations and a song which sizzles in the ears and smoulders to lingering effect in the psyche.

The track follows attention grabbing debut single One Kinda Women, a song which is melodically inflamed and pungently infectious. Its release backed up the band’s growing reputation as a must see live proposal but as impressive as it is, Take It Back outshines its raw seduction with ease. Whereas its predecessor was a lively affair, the new single prowls and courts the senses with its seductive gait led by the sultrily dark bassline of Tom Smith and the impressively alluring tones of vocalist/guitarist Stu Burns. Theirs is a riveting fusion which is only elevated to greater climes by the gripping sonic craft of lead guitarist Liam Dunning where grooves spring from his fingers on strings like shards of light from a burning sun.

Skilfully tempered and held in check by the skilled rhythmic prowess of James Gaskell, the track is a furnace of dark rock ‘n’ roll and bluesy vapours, every twist explored unveiling new depths and addictive bait to greedily devour. At times there is a whisper of Queens Of the Stone Age to the song, in others moments of bands like Morass of Molasses, and from start to finish Take It Back just bewitches.

It is the third song we have heard from Gold Jacks and without doubt their best to date, which if the trend continues means we are in for something extremely special next time.

Take It Back is out now via Scruff of the Neck Records.

Pete RingMaster 14/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/